The Doobie Brothers – Listen To The Music (Reprise) [Live 2018 From The Beacon Theater]
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Artist or Composer / Score name | Cover | List of Contents |
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Autum Song (October) – Tchaikovsky The Seasons (Musescore File).mscz | ||
Autumn In New York (Guitar Arr. With Tab) | Autumn In New York (Guitar Arr. With Tab) | |
Autumn In New York (Guitar Arr.) (Musescore File).mscz | ||
Autumn Leaves Joseph Kosma Jazz Standard Piano Solo arr | ||
Autumn Leaves Joseph Kosma Jazz Standard Piano Solo arr.mscz | ||
Autumn Leaves Piano Bar Arr. Johnny Mercer Joseph Kosma Jacques André Marie Prévert | Autumn Leaves Piano Bar Arr. Johnny Mercer Joseph Kosma Jacques André Marie Prévert | |
Autumn Leaves – Jazz Play Along LEAD SHEET MUSIC | Audio MP3 included in Aebersold’s Vol. 44 (Autumn Leaves) | |
Autumn Leaves – Piano Bar Arr. Johnny Mercer Joseph Kosma Jacques André Marie Prévert (Musescore File).mscz | ||
Autumn leaves (Eva Cassidy) | ||
Autumn Leaves As Played By Bill Evans (Musescore File).mscz | ||
Autumn Leaves Cannonball Adderley And Miles Davis Sax Alto | ||
Autumn Leaves Music by Joseph Kosma | ||
Autumn Leaves Piano Solo – as played by Hank Jones.mscz | ||
Autunm Leaves (Musescore File).mscz | ||
Avatar – Leona Lewis – I See You | Avatar I see you | |
Avatar sheet music Book James Horner | Avatar | |
Ave Maria (Joyeux Noël OST) Philippe Rombi | ||
Avenged Sevenfold Nightmare Guitar TAB | Avenged Sevenfold Nightmare Guitar TAB | |
Avenue Q The Musical Songbook | Avenue Q The Musical Songbook | |
Avicii – Wake Me Up Sheet Music Piano Vocal Guitar chords | ||
Avishai Cohen Songbook Vol I | Avishai Cohen Songbook Vol I | |
Avril Lavigne – Complicated | ||
Avril Lavigne – Freak Out | ||
Avril Lavigne – Im With You | ||
Avril Lavigne – Innocence | ||
Avril Lavigne – My Happy Ending | ||
Avril Lavigne – When Youre Gone | ||
Avril Lavigne – Why | ||
Avril Lavigne the Best Damn Thing Songbook | Avril Lavigne the Best Damn Thing Songbook | |
Avril Lavigne Under My Skin | Avril Lavigne Under My Skin | |
Awaken (Jane Eyre OST 2011) Dario Marianelli | ||
Awakenings Dexter’s Tune by Randy Newman | ||
Away In A Manger – Guitar TABlature | ||
Axel F from Beverly Hills Cop b Harold Faltermeyer Piano Vocal Guitar Chords sheet music | ||
Axel Jorgensen ROMANCE for Trombone and Piano Op. 21 | ||
Aya Hirano – God Knows Suzumiya Haruhi no Yuutsu OST Piano Solo | ||
Ayumi Hamasaki – Voyage | Ayumi Hamasaki – Voyage | |
Ayumi Hamasaki All In | Ayumi Hamasaki All In | |
Aziza Mustafa Zadeh Always Sheet Music | ||
Aziza Mustafa Zadeh Holiday Blessings | ||
Aziza Mustafa Zadeh Strange Mood | ||
Aziza Mustafa Zadeh – Dreaming Sheherezadeh | ||
Aziza Mustafa Zadeh – Melancholic Princess | ||
Aziza Mustafa Zadeh – Barabashka | ||
Aziza Mustafa Zadeh Two Candles | ||
B Witched – Cest La Vie | ||
B Witched – Rollercoaster | ||
B. B. King Live At The Regal Guitar TAB | B. B. King Live At The Regal Guitar TAB | |
B.B. King Anthology Guitar TAB | B.B. King Anthology Guitar TAB | |
B.B. King Greatest Hits | B.B. King Greatest Hits | |
B.B. King Guitar Play Along Vol. 100 – with MP3 audio embedded with Tablature | Guitar Play Along Vol. 100 – B.B. King | |
B.B. King The Definitive Collection Guitar Signature Licks with TABs By Wolf Marshall | B.B. King The Definitive Collection Guitar Signature Licks By Wolf Marshall_compressed | |
Baby Elephant Walk (Hatari OST) Henry Mancini | ||
Baby Elephant Walk Mancini (Musescore File).mscz | ||
Babyface, The Songs Of (Kenneth Brian Edmonds) | Babyface, The Songs Of (Kenneth Brian Edmonds) | |
Bach – Jesu Bleibet Meine Freude Guitar arr.mscz | ||
Bach – Siciliano In G Minor (Musescore File).mscz | ||
Bach – Siciliano in G minor Piano solo (Intermediate) | ||
Bach J.S. – Aria Mit Variationen Goldberg Variationen Bwv 988 Mit Noten – Sheet Music (Musescore File).mscz | ||
Bach J.S. – Orchestral Suite No. 1 In C Major Bwv 1066 Passepied (Easy Piano Solo) (Musescore File).mscz | ||
Bach J.S. For Bass Guitar Mel May Publications | ||
Bach – Analysis of J.S. Bach’s Wohltemperirtes clavier (48 preludes & fugues) ( Book ) Riemann | ||
Bach – Arioso (Musescore File).mscz | ||
Bach – Cello Suite No. 1 In G Major Bwv 1007 Arr. Guitar (Musescore File).mscz | ||
Bach – Chaconne Bwv 1004 Guitar Arr. (Musescore File).mscz | ||
Bach – Easy Pieces for Classical Guitar – Notes & Tablature | Bach – Easy Pieces pieces for guitar | |
Bach – Kurtag – Transcriptions for piano four hands | ||
Bach – Masterworks of Johann Sebastian Bach ( Book) | ||
Bach – Music in the Castle of Heaven by John Eliot Gardiner (Book) | ||
Bach – Praeludium Et Fuga In D Bwv 539 Piano Solo (Musescore File).mscz | ||
Bach – Prelude And Fugue In A Minor (Bwv 543) (Musescore File).mscz | ||
Bach – Sheep May Safely Graze (Schafe Könen Sicher Beiden) Aria From The Cantata Bwv 208 Easy Piano | ||
Bach – Siciliano (Easy Piano arr. from Flute Sonata BWV 1031 with sheet music) | ||
Bach – Siciliano (Easy Piano Arr. From Flute Sonata Bwv 1031 With Sheet Music) (Musescore File).mscz | ||
Bach A Life In Music by Peter Williams (2006) Biography Book | ||
Bach Baden Powell Jesus Bleibet Meine Freude Guitar Tablature Tabs | ||
Bach Bourée (Piano Solo) Jethro Tull (Musescore File).mscz | ||
Bach Busoni Complete Transcriptions | Bach Busoni Complete Transcriptions | |
Bach Bwv 22 – Sanctify Us By Thy Goodness Piano Arr. Harriet Cohen (Musescore File).mscz | ||
Bach Cello Suite No. 1 In G Major For Guitar (Musescore File).mscz | ||
Bach Chaconne BWV 1004 Abel Carlevaro Guitar Masterclass IV | ||
Bach Chaconne D minor arr. for guitar | ||
Bach Forty Chorales Arr. For Piano Solo | ||
Bach Fugue In G Minor Bwv 578 (Piano Solo) (Musescore File).mscz | ||
Bach Fugue Iv Bwv 849 Wtc I (With Sheet Music Noten) (Musescore File).mscz | ||
Bach Goedicke – Prelude Fugue BWV 539 transcribed for piano | ||
Bach Gounod Prelude 1 Ave Maria Jazz Improvisation | ||
Bach Guitar – Fingerpicking Bach (with Tablature) | Bach Guitar – Fingerpicking Bach | |
Bach J.S. J.S. – French Suites (I to VI) | ||
Bach J.S. JS – BWV 208 – Sheep May Safely Graze (arr Friedman) | BACH JS BWV 208 | |
Bach J.S. Air from Orchestral Suite no. 3 in D Major (trans. D. Weymouth) | Bach J.S. -Air-Weymouth | |
Bach J.S. Jesu, Joy of Man’s Desiring – Piano Arr Groban, Josh | ||
Bach J.S. – Jazz Play Along Vol. 120 Pdf + Mp3 Audio Tracks | Jazz_Play_Along_Vol_120_-_J_S_Bach | |
Bach J.S. – Air on a G String | ||
Bach J.S. – Busoni Chaconne (piano solo arr.) | ||
Bach J.S. – BWV 565 Piano – Toccata E Fuga In Re Min | Bach – Bwv 565 Piano – Toccata E Fuga In Re Min | |
Bach J.S. – Cantata BWV 147 – Coral ‘Jesus Bleibet Meine Freude’ (Easy Piano Solo) | Bach Jesu Joy Of Mans Desiring Cantata Bwv.147 Piano Solo Page 1 Of 5 | |
Bach J.S. – Das Wohltemperierte Klavier HENLE VERLAG | ||
Bach J.S. – Easy Pieces for Classical Guitar – Notes & Tablature | Bach – Easy Pieces pieces for guitar | |
Bach J.S. – English Suites Inglesi (piano) BWV 806-811 | ||
Bach J.S. – Nun komm, der Heiden Heiland, BWV 659 | Bach, J.S. – Nun komm, der Heiden Heiland, BWV 659 | |
Bach J.S. – Toccata and Fugue in D minor BWV565 (Piano solo arr. Grainger) | ||
Bach J.S. – Two Part Inventions Busoni | ||
Bach J.S. – Well-Tempered Klavier Analysis Part II Dr. H. Riemann | ||
Bach J.S. – Wilhelm Kempff 10 Bach Transcriptions for piano | Kempff – 10 Bach Transcriptions | |
Bach J.S. (H Bauer) – Corale Dalla Cantata no. 147 “Jesu, Joy of man’s desiring” BWV 7 (Piano Solo) | ||
Bach J.S. (Marcello) – BWV 974 -Adagio | Bach (Marcelo) – BWV 974 -Adagio | |
Bach J.S. 12 Small Preludes | ||
Bach J.S. 15 Three-voice Inventions | ||
Bach J.S. 15 Two part Inventions Pure Text Ed. Allan Peterson | ||
Bach J.S. 6 Partitas( I to VI) | ||
Bach J.S. AIR ON THE G STRING ARR. SILOTI | ||
Bach J.S. ARIA SUITE EN RE (arr. for 2 PIANOS) | Bach ARIA SUITE EN RE 2 PIANOS | |
BACH J.S. Art Fugue Die Kunst der Fuge (Ed. Czerny ) BWV 1080 | ||
Bach J.S. Art Of Fugue Czerny (Ed. Kalmus) BWV 1080 | ||
Bach J.S. Busoni BWV564 | ||
Bach J.S. BWV 1055 keyborad concerto n 4 | ||
Bach J.S. BWV 971 Italian Concerto | ||
Bach J.S. Cantata 147 arr. for Easy piano solo | Bach-Jesu-Joy-of-Mans-Desiring-Cantata-BWV.147-Piano-Solo | |
BACH J.S. CANTATA 22 ARR. PIANO SANCTIFY US BY THY GOODNESS arr. by Harried Cohen |
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The Doobie Brothers (official site)
Born out of Northern California’s chaotic, late-1960s musical stew, The Doobie Brothers’ rugged, real and authentic approach to rock and roll made them biker bar stalwarts. But their self-titled debut album in ’71 went beyond just leather and motorcycles, revealing even more musical layers; sweet three-part harmonies and rootsy, introspective, acoustic flavors.
The Doobie Brothers’ legacy has been built upon not just hit records, but also an unrivaled commitment to musical integrity and a steadfast allegiance to their enthusiastic fan base. The bands ability to evolve in a constantly changing industry and connections to generations of listening audiences is a testament to their craft.
It all began in 1969, when a drummer named John Hartman arrived in Northern California. He was there to meet Skip Spence from the band Moby Grape and become part of a supposed band reunion that never quite got off the ground. But it wasn’t all for naught. Spence (who had also played in the Jefferson Airplane) introduced Hartman to his friend Tom Johnston, a local singer/songwriter/guitarist -and they connected. Hartman and Johnston began playing local Bay Area bars. They soon met singer/guitarist Pat Simmons, whose finger-style playing richly complimented Johnston’s R&B strumming-style, and the foundation for The Doobie Brothers was set.
While their debut album in 1971 did not chart, just a year a later, their second record, Toulouse Street, became a breakout sensation. Producer Ted Templeman helped the band craft a sound that was organic, yet radio friendly, and brought in Little Feat keyboardist Bill Payne to add unique musical textures.
From there The Doobies hit the road, tirelessly working their way around the world. They established themselves with a breathtaking run of hits on Warner Bros. Records that tapped into a myriad of American styles. “Listen to the Music,” “Jesus is Just Alright,” “China Grove,” “Black Water,” “Rockin’ Down the Highway,” “Long Train Runnin’” and other anthemic singles confirmed their status as fine craftsman who could also rock arenas.
In 1974, Steely Dan co-lead guitarist and session legend Jeff “Skunk” Baxter joined the band as third guitarist, one of many unique and talented players who would revolve in and out of the band over the years. The group’s expanded lineup was augmented in 1975 by Michael McDonald, whose soulful vocals and songwriting led to the hits “What a Fool Believes,” “Minute by Minute,” “Takin’ It To The Streets,” and “You Belong To Me.” Multi-instrumentalist and vocalist, John McFee, joined in 1978 bringing his wide range of musical styles and experience recording with Van Morrison, Steve Miller, Elvis Costello, and The Grateful Dead to The Doobies’ sound.
The collaborative, almost communal sense of family within the band allowed them to stay fresh and unpredictable over the years, while never forsaking their deep American musical roots, boogie-jams and all.
After a respite in the early 80s, the band reunited in 1987 for a series of gigs benefiting veterans’ groups and children’s charities (ultimately raising millions). Those shows at the Hollywood Bowl were the fastest sell-outs since the Beatles had played there more than 20 years earlier. In a Los Angeles Times poll the year before, fans voted Led Zeppelin and The Doobie Brothers the bands they wanted most to see reunite.
Continuing to record, The Doobies released World Gone Crazy in 2010, produced by Ted Templeman, and Southbound on Arista Nashville in 2014. Southbound, produced by David Huff, featured new recordings of the band’s iconic hits, with country music’s biggest stars including Blake Shelton, Zac Brown Band, Brad Paisley, and Toby Keith.
The Doobie Brothers were inducted into the Vocal Group Hall of Fame in 2004, have won four GRAMMY® Awards and sold more than 48 million records worldwide (including three multi-platinum, seven platinum, and 14 gold albums). Their 1976 Best of the Doobies has sold more than 12 million copies, earning rare RIAA Diamond status. Their No. 1 gold-certified singles “Black Water” (1974) and “What a Fool Believes” (1979) lead a catalog of hits that includes “Listen to the Music,” “Jesus Is Just All Right,” “Rockin’ Down the Highway,” “Long Train Runnin’,” “China Grove,” “Take Me In Your Arms,” Takin’ It to the Streets,” “Minute by Minute,” “You Belong to Me,” and “The Doctor.” In all, The Doobies have tallied five Top 10 singles and 16 Top 40 hits.
“We’re basically an American band – we cover a lot of areas,” says Johnston. “We cover blues, R&B, country, bluegrass, and rock ‘n’ roll. It’s based on rhythms, rhythm structures, picking, and harmonies. That’s been the signature of the band.” He continues, “You take Pat, who comes from a folk/blues background, with a lot of picking and stuff like that; he was a big fan of Rev. Gary Davis and Dave Van Ronk. I come from a blues, soul, R&B, and rock ‘n’ roll background. Then you stick John McFee into that mix. John came from a country background when he started out and was in the country band Southern Pacific. And he is a session musician – he’s played with everybody from Steve Miller to Van Morrison to Elvis Costello. If it’s got strings, he can play it.”
“We all have the same work ethic,” says multi-instrument virtuoso McFee, self-described as the “new guy.” “Tom, Pat and I are still surging ahead. We’ve stayed together as friends as well as musicians. We are compelled to challenge ourselves. I mean, I love playing the old songs. But when we’re working on new material now, I think we’re coming up with better parts. The band has always been good, so it’s kind of like we’re competing with ourselves. But honestly, we’re playing better than ever.”
Simmons notes, “We didn’t really sit around and think, ‘Oh, we need this element or that element.’ The music has always been an honest representation of whatever we happen to be working on at the time. We had all been playing music for a long time before we put the band together, and our roots influences are what come out. Those influences always overtake whatever conceptual ideas you might have. It’s always been that way with this band — you always return to who you really are.”
The ability of The Doobie Brothers’ music to connect with the essentials of people’s lives in tuneful, affecting songs has developed an audience that spans generations today. Known for their dynamic live performances, the band plays close to 100 shows a year touring worldwide, delighting concert goers of all ages.
Simmons adds, “We have a hardcore fan base that has handed our music down through the years to their children and their children’s children. Repeatedly, people go to our concerts and come up to us and say, ‘My dad turned me on to you guys years ago, and I’ve loved you guys all this time, and my kids are listening to you now.”
“And the songs that people all know, be it ‘Listen to the Music,’ ‘Black Water’ or ‘China Grove,’ are still getting played,” Johnston adds. “Any song that stands the test of time for 40 years or is getting played around the country on a daily basis – that to me is a testament to the quality of the tunes, and that they have something to say that resonates with people. I’d like to say this band has been relevant – it’s been relevant musically, it’s been relevant lyrically, and we’ve always put out a high quality of music.”
They take none of it for granted. And their music has proven to be relatable for generations since they first came together, which is why they continue to make new music. The fundamental appeal that has drawn listeners to this group for four decades may be best expressed by Simmons:
“In a certain sense, what this band has always had in common with everyone else is the word ‘hope.’ We hoped we would make some good music, and we hoped there would be some acceptance, and we hoped that things would get better in the world. In that respect, we’re just the same – we’re still hopeful about the future.”
The mere name of the band gives one hope. And it makes you think, it makes you feel, and makes you appreciate the efforts of one of America’s most dependable musical outfits. It takes you back, while also helping you look ahead.
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